Torvald often refers to Nora as an “expensive little person” (p14) who has a knack for spending his money frivolously. This portrayal highlights the striking resemblance between Nora and a spoiled child dependent on his wealthy parents. However, as the play progresses and Ibsen guides us through the pinnacle of Nora’s life before her liberation, we witness her transformation into a wiser, more resolute woman who gains self-respect.
Nora’s progression is exemplified and guided by her increasing bravery, her direct efforts to achieve equality with her spouse, and her progressively realistic outlook on herself. As Nora Helmer gains more and more courage, one can observe a beginning to her growing open-mindedness and self-respect. Initially, Nora’s carefree joy is solely fueled by her complete compliance with and reliance on her husband’s desires. For instance, when Torvald playfully questions Nora about eating some candy, she sincerely declares, “[she] should not think of going against your wishes,” (p15), behaving in a manner reminiscent of a child who does not disobey.
Nora experiences a significant transformation upon Mrs. Linde’s arrival. She finally finds someone with whom she can completely open up and be authentic. This is evident in her unexpected request for Torvald to employ Mrs. Linde – a demand that would have been unimaginable at the beginning of the story. It reflects a continuous shift in Nora’s mindset. However, the ultimate demonstration of Nora’s bravery is when Krogstad blackmails her, threatening to expose her forged signature on the bond. Despite her typically timid nature, Nora’s subsequent actions reveal her rapid evolution.
Nora displays complete independence and self-awareness as she sends Mrs. Linde to persuade Krogstad to change his mind. Her ultimate test of bravery occurs during the climax of the story, when Krogstad returns the bond and everything seems to be resolved. Torvald Helmer acknowledges Nora’s feminine vulnerability, stating “I would not be a man if this helpless femininity did not make you doubly attractive… Soon, you won’t need me to assure you that I have forgiven you; you will feel that certainty yourself” (p66).
Nora has come to the realization that she has been living a lie for the past eight years. This newfound awareness of her situation demonstrates her liberation from Torvald’s controlling influence. She chooses to leave him in order to fully understand herself and find independence (p71). Nora’s decision to let go of someone she has loved for years shows her determination to break free from the societal restraints that have held her back. Alongside her growing courage, Nora also develops a desire for equality with her husband. She recognizes that her current role in life, where she must pretend to be cheerful and subservient, is not reflective of her true capabilities.
In a conversation with Mrs. Linde, Nora reveals her desire and determination to repay Krogstad for the loan. She shares that she had the opportunity to do a lot of copying work last winter, and she locked herself up to work on it until late at night. Nora expresses how enjoyable and fulfilling it was for her to be able to work and earn money, likening it to the satisfaction experienced by men. (p22)
This passage illustrates Nora’s dissatisfaction with her life and her desire to have more responsibility and earn money. It also highlights her intelligence and ambition. Another example of her determination to have a greater impact in her family is seen when Krogstad threatens to reveal their secret to Torvald. Despite being turned off by Torvald’s dismissive response, Nora approaches him to discuss the loan she obtained to save his life.
Nora attempts to convince Torvald not to fire Krogstad, but she is unsuccessful. This highlights the prevailing belief in the late 1800s that women were expected to be influenced and controlled by the men in their lives. Torvald continues to assert his superiority over Nora, as shown in the quote “Playtime shall be over, and lesson-time shall begin.” (p68)
Torvald’s selfish and vain behavior upon receiving Krogstad’s letter stems from his strong belief that no man would sacrifice their honor for the sake of love (p71). Consequently, Mrs. Helmer eagerly anticipated the letter, hoping it would reveal Torvald’s genuine concern for Nora by displaying empathy and accepting responsibility. This display of sincerity would validate that Torvald’s actions were not merely those of an arrogant and self-centered leader.
Upon realizing Torvald’s true nature, Nora chooses to leave him as she recognizes he views her merely as a toy in his household. This reveals Nora’s longing for empathy and regard. She values finding self-appreciation through enduring hardship over being loved by others based on deceptive facades.
Undoubtedly, Nora’s recognition of the unintentional dishonesty in her interactions with Torvald inspires her transformation into a more grounded, rational, and self-respecting individual. At the start of the play, Nora’s beliefs and ideas are largely suppressed, as evidenced by her fear-induced submission after indulging in sweets, an activity disapproved of by her husband.
Ibsen carefully introduces change by revealing that Nora has secretly disobeyed her husband’s moral teachings, which was considered a “crime” at the time. This suggests that from the beginning, when Nora falsified her father’s signature to obtain money for her trip to Italy, she has been living a lie. Additionally, this initial moment of taking control of her own destiny ultimately leads Nora to become more independent.
In the course of the play, Ibsen shows Nora’s transformation by having her describe her husband as narrow-minded. This statement, which is unexpected considering Nora’s earlier submissive behavior, demonstrates her increasing sense of morality and ability to judge others. It is important to consider Nora’s final conversation with Torvald when examining her journey towards self-respect.
Nora Helmer realizes that she has spent her whole life catering to the desires of the men around her. During a conversation with her husband, she expresses profound disappointment in how she has wasted her time under his care. Nora confesses to Torvald, “I have only existed to amuse you… It is your fault that I haven’t accomplished anything in my life” (p68).
Finally, Nora declares that her responsibilities to herself are equal in importance to her duties as a wife and mother, signifying her belief in her own liberation. Ibsen accurately anticipates the mindset of modern women through Nora’s statement, “I believe that above all else, I am a logical human being – or, at least, I must strive to become one… I no longer accept common opinions or rely solely on books. I must critically think and comprehend for myself.” (p69) This attitude permanently transformed men’s oppressive treatment of women.
The transformation of Nora Helmer is a symbol of the collective transformation of women during the time when A Doll’s House was written. Nora’s evolution from innocence to wisdom comes at the significant price of leaving her home. While this ending may be considered tragic, it also brings a sense of satisfaction as Nora stands up against external influences. It would have been much worse if Nora had remained silent and suppressed the growing desire for self-respect and freedom within her.
According to Ibsen, the depiction of a seemingly naïve and entitled young woman (as evident from her childish behavior) who evolves into a more knowledgeable and enlightened individual through her own emancipation, ultimately culminating in a satisfying ending, indicates the author’s deep empathy for the disadvantaged position of women in society during the time of his writing.
The portrait of Torvald and his dominance was painted as a target for women to strike against, while Nora’s courage, determination, and sense of equality will surely guide her towards greatness.
Bibliography
- Ibsen, Henrik. A Doll’s House. London: Penguin Classic, 1987
- Magill, Frank N., editor. Masterpieces of World Literature, Harper ; Row, 1989, pp. 203-206.
- Meyer, Michael, editor. The Compact Bedford Introduction to Literature, 4th Edition, St. Martin’s Press, 1996, pp. 1128-1136.
